Broadway

The new musical [*Kimberly Akimbo*](https://www.newyorktheatreguide.com/show/25458-kimberly-akimbo-tickets) has been decades in the making — well, sort of. David Lindsay-Abaire’s same-named play *Kimberly Akimbo* premiered with Manhattan Theatre Club in 2003, and his musicalized version premiered with Atlantic Theater Company in 2021 before quickly transferring to Broadway the following year.

Now a contender for the Tony Award for Best New Musical, *Kimberly Akimbo* follows Kimberly Levaco, a 16-year-old teen in New Jersey with a rare disease that causes her to age four times the average rate. Kimberly looks like she’s 70something, and she’s got resentful parents, a scheming aunt, and an expected short lifespan.

Despite it all, she has a verve for life, brimming with the hopes and dreams of teenhood while ice skating and chasing friendships and crushes. As it made its way uptown, the quirky tuner, with a book and lyrics by Lindsay-Abaire and music by Jeanine Tesori, found its sound and its heart. (And [seven more Tony nominations](https://www.newyorktheatreguide.com/theatre-news/news/2023-tony-award-nominees-announced).)

At a live recording for SiriusXM in New York City, the cast of *Kimberly Akimbo* shared their journeys with the lauded show. Victoria Clark, a Tony nominee for playing the title Kimberly, first learned of the musical project before the pandemic.

“*Kimberly Akimbo* has been in my life for more than three years,” said Clark. “I've been living with [Kimberly] and trying to get to know her all this time… I've been living with the script and the music for a long time.”

Justin Cooley, who stars as the big-hearted, tuba-playing Seth, joined the musical project fresh out of high school after being a fan of Tesori’s for years. “I didn't feel super prepared, and I didn't know if I could make it happen, but I knew I had to take the chance,” said Cooley, who also earned a Tony nomination for his performance.

Olivia Elease Hardy and Nina White, who portray members of the high school show choir, were classmates at Michigan State University. When Hardy got a callback for *Kimberly Akimbo*, she reached out to her fellow graduates in New York City to see if anyone had an open couch.

White, who had been a New York resident all but two days, offered up her futon. Hardy was tight-lipped about the project, but little did she know, White was also called back, and the two performed sides together at the audition. “It’s been so nice to have one of my closest friends beside me for this ride,” said Hardy.

When Lindsay-Abaire’s play premiered at MTC, Clark was in *The Light in the Piazza* and missed the production. “It starred the iconic Marylouise Burke, who is about as different a Kimberly as you can find on planet Earth from moi — she’s brilliant,” said Clark with a laugh.

However, being part of its second go-around has been a real gift. “David and Jeanine talk about how they feel adapting this from a play to a musical has made the whole piece deeper and more beautiful in some ways,” Clark added.

Bonnie Milligan, who stars as Kimberly’s jailbird Aunt Deb, shared that the process of transferring the show uptown honed it further. “One of the things that the team really focused on in moving from off Broadway to Broadway was deepening the work,” said Milligan, who is nominated for her performance. “They made it more intimate and beautiful.”

Character-wise, the adults got a revamp. “This round really deepened the adults in her life because we're a little bit dysfunctional,” said Milligan with a laugh. The creative team aimed to make the adult characters as real as possible, despite the show’s absurd situations. The dichotomy leaves “audiences laughing and also feeling all the feelings,” said Milligan.

The heartfelt music really drives the musical’s emotional narrative. Tesori worked closely with the cast to develop musical throughlines and hone in on the storytelling. At Atlantic Theater Company, one run-through focused solely on transitions, so Tesori could identify which characters to highlight musically from scene to scene. “She is, I think, one of our greatest living composers. She's a genius,” effused Milligan.

Cooley added, “She really helps not only build the world but also our characters.” An electric guitar riff in Cooley’s solo number “Good Kid” unlocks an edgier side to his goody-two-shoes character. “It shows a different side, and she gives you so many different things to think about as you're building your own character… She composes in the style of the character; she's the heartbeat of the person.” Indeed, the score ranges from bouncy ukulele tunes to rollicking belts.

The process of building up the characters and the songs for the Broadway run was incredibly collaborative. Milligan workshopped her show-stopping number “Better” with Tesori in the basement of Atlantic Theater Company. Together, the pair zeroed in on the character’s tactics in the song. “That was one of the best times in my entire life — having Jeanine Tesori say, ‘Can I build something on you?’ Absolutely, ma'am!”

Even after its yearslong journey to the [Booth Theatre](https://www.newyorktheatreguide.com/theatres/booth-theatre), the close-knit cast still lines up in the wings to watch certain scenes night after night, a testament to the musical’s magic and staying power. For his part, Cooley enjoys watching the show choir’s singing entrance. “It’s complex and dynamic every night — they all have something different going on, and it is so awesome,” said Cooley.

Get [*Kimberly Akimbo*](https://www.newyorktheatreguide.com/show/25458-kimberly-akimbo-tickets) tickets now.

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*Photo credit: The cast of Kimberly Akimbo on Broadway. (Photos by Joan Marcus)*

The cast of 'Kimberly Akimbo' on how the story got better with age

kimberly akimbo-1200x600-NYTG 5

Children under 4 are not permitted in the theatre.

Kimberly Akimbo on Broadway - NYC

Kimberly Akimbo on Broadway

The cast of *Kimberly Akimbo* shared their journeys with the show and how the play-turned-musical transformed from its Off-Broadway premiere to Broadway.

Think you haven't heard of Max Martin? Think again. You're more familiar with the Swedish music executive than you know if you've heard Britney Spears's "...Baby One More Time," Bon Jovi's "It's My Life," The Backstreet Boys' "I Want It That Way," or dozens of other chart-toppers the five-time Grammy Award winner wrote and/or produced over the past three decades.

He is, to be fair, a famously private person. And unless they also perform their tunes, songwriters don't often get public attention for their work. Or, for that matter, dedicated Broadway musicals a la Carole King, ABBA, or [Neil Diamond](https://www.newyorktheatreguide.com/show/24254-a-beautiful-noise-tickets).

But Martin, with an extensive catalog of 250-plus songs, has made just as seismic an impact on popular music as any performer. He had the idea to fashion his songs into a musical years ago — and in 2019, that thought became a reality with the world premiere of [*& Juliet*](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets) in London. The pop musical has now earned nine Tony nominations, including Best Musical, for its 2022 Broadway transfer.

The *& Juliet* team has called him the "Shakespeare of pop," so it's fitting that 30 of his songs score a show inspired by a Shakespeare play: *Romeo & Juliet*. The musical picks up just before that play's end, when Juliet suddenly decides not to die and instead ditches Verona in search of new life, new friends, and new loves.

Shakespeare's play has been around centuries longer than Martin's songs, but those were the true genesis of *& Juliet*. He remained closely and enthusiastically involved every subsequent step of the way — Tony nominee Betsy Wolfe, who plays Shakespeare's wife Anne Hathaway, described him as "a kid in a candy store during this whole process."

The cast and creatives' excitement to work with Martin, in turn, was mutual, and they shared how Martin's influence lives in everything the audience hears. The journey begins in fair Canada, where we lay our scene...

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## Two writers, alike in dignity

Technically, it begins in the Martin family home, where Jenny Petersson, Martin's wife, said, "We should make a musical," Martin recalled. "And a long journey ahead started."

But Martin is an expert songwriter, not a scriptwriter. "I was insecure about how this is going to [be]," Martin admitted. "I really wanted it to be a great story, not just a bunch of songs — to have a purpose, so to speak."

One would expect someone with as prolific a career as Martin to take on the job. But it was Canadian writer David West Read — a relatively unknown name who hadn't won his Emmy Award for *Schitt's Creek* yet — who came up with the winning idea at the unlikeliest of times.

"I suffered a concussion, which worked out well because I couldn't look at screens or anything, so I was lying in a dark room listening to the playlist [of Martin's songs]," Read said. "There's so many songs about heartbreak and young love, and I thought, 'How do you put a brand to this?' Because Max Martin wasn't really known by anyone, even though he's the most successful songwriter [after] the Beatles." (That's statistically true — only Paul McCartney and John Lennon notched more Billboard Hot 100 number-one singles.)

"So I came up with the idea of Juliet from *Romeo & Juliet*," Read continued. "We're going to repurpose and reinvent these pop songs and it'll be great, but also reinvent a classic love story."

His idea won over the production team and Martin. "When he created this story and gave me an example of how the songs could actually work to tell this story, that's really when it started to come to life," Martin said.

![1 & juliet-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/49EUJ9kZqURbfXB5E6ptGQ/d797e6c8d37da845daafe20015083944/1___juliet-1200x600-NYTG.jpg)

## Arise, fair sound

In *& Juliet*, Juliet first enlists her nurse, Angelique, to hit the road with her, but it takes a crew of friends old and new to enliven her adventure. Similarly, West and Martin couldn't refashion pop songs for the stage alone. Their crew included sound designer Gareth Owen, music director/orchestrator Dominic Fallacaro, and orchestrator/arranger Bill Sherman. (All three are Tony-nominated.)

When asked what convinced them to work on *& Juliet*, they all had the same answer: Martin. "The possibility of collaborating with the greatest songwriter of the last 25 years on songs that define your life is impossible to pass up," Sherman said. Fallacaro similarly called the opportunity a "no-brainer."

"I’d never met the guy [before *& Juliet*], but everyone behind the scenes in the music industry knows he’s a genius," Owen said. "Then I met him and realised he was nice as well as talented - frankly, between Max, Bill Sherman, and I? Well, it was a bit of a bromance!"

Sherman recalled a different kind of nervousness — not the bromantic kind — defining his and Martin's first meeting. "Max said two things: 'If a song is going to be a departure from the original version, go all the way. Don't half-ass it,'" Sherman remembered.

"The second thing that Max said was, "If it's not perfect, it goes in the trash." You can imagine me eight years ago, having no idea what the hell is going on in the world, and the greatest songwriter of our time looks at you dead in the eye in a very humbly Swedish way and goes, 'If it's not perfect, it goes in the trash.' I can safely say that was one of the most terrifying days of my life."

Having Martin on hand during London and Broadway rehearsals, though, helped ensure the sound of *& Juliet* was to his liking. "One of the coolest parts about getting this was getting access to the vault of Max," Fallacaro said. "We're not approximating what the synth sounds like. We're running it past someone who knows exactly what it's supposed to sound like."

"It's been so fun and rewarding reimagining and bringing some of the greatest songs of our generation onto a theatre stage, and to put a narrative force behind them," he added in a separate interview. "The challenge of fusing the traditional orchestral and band components of Broadway with the studio 'pixie dust' of synthesizers and drum machines was a tremendously rewarding experience."

"It might not be perfect," Sherman said of the final result, "but it's pretty damn close."

![2 & juliet-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/4uRxS4JCAwq28qRsfLQYse/a3e7a49d37437ce5ce8b0c37b59d75ed/2___juliet-1200x600-NYTG.jpg)

## What's in a cast?

The final piece of Martin's songs' journey from studio to stage is the Broadway cast that sings them live every night. He worked directly with them in rehearsals, too, even scheduling one-on-one sessions to coach them on their singing performances. It didn't take long for him to become a familiar, friendly face — Wolfe said the cast's reactions to seeing him shifted from awe to "Oh yeah, it's Max."

"It was so scary, but at the same time, he's become a proud papa," said Lorna Courtney, a Best Actress Tony nominee for playing Juliet. "He wants us to succeed and do well, and the notes that he would give — it's all expertise, and it's all to better ourselves and the overall longevity of what we're doing."

"It's both exciting and not exciting, because he's there the whole time. You can't get rid of him!" joked Melanie La Barrie, who originated the role of Angelique in London and New York. "He's in the fabric of this musical. Because when we were making it in London, and again when we were making it here, he is here. He's giving us all of his energy and all of his insight and everything that he knows about his world, and now this world, because he knows this musical like his own skin."

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How Max Martin shaped '& Juliet' on its road to Broadway

& juliet review-1200x600-NYTG

Contains some strong language. Recommended for ages 6+. Children age 4 and under will not be admitted into the theatre. Everyone must have a ticket, regardless of age.

& Juliet on Broadway - NYC 

& Juliet on Broadway

The Grammy-winning songwriter/music producer is behind the biggest pop hits of the '90s onward, and 30 of his songs fuel this Tony-nominated Broadway musical.

A Broadway designer's challenge is to immerse audiences in another place and time, conjuring it well enough that they feel a part of it even if they've never been. For the team behind [*Leopoldstadt*](https://www.newyorktheatreguide.com/show/26003-leopoldstadt-tickets), a 2023 Best Play nominee by Tom Stoppard, that's a loaded task.

On the one hand, *Leopoldstadt* is a lively drama about an extended Jewish family in 20th-century Austria, and its success comes from the fact that "we're invited into the Merz-Jacobowitzes' commonplace gatherings, debates, trysts, squabbles, and playtimes as though we, too, are kin," as [New York Theatre Guide's critic observed](https://www.newyorktheatreguide.com/reviews/leopoldstadt-broadway-review-tom-stoppard). Tony-nominated designers Richard Hudson (set), Brigitte Reiffenstuel (costumes), and Neil Austin (lighting) are integral to achieving that effect, sparing no detail on the well-to-do family's warmly lit, inviting manor with clothing to match.

On the other hand, the play quickly darkens as it inches ever closer to World War II, and Jewish Austria soon becomes the last place any audience member would want to be. But that feeling is also key to *Leopoldstadt*'s emotional heft. The design follows suit, with the house gradually deteriorating, the clothing getting simpler, and the warm lighting subtly becoming starkly cool.

The designers first undertook this task in 2020 when they mounted the world premiere of *Leopoldstadt* in London. "The production for Broadway was created from scratch, based on the London design," said Reiffenstuel. "We had the opportunity to sharpen the design and heighten some design ideas."

They made some of these changes out of necessity — the lighting equipment Austin used in London, for example, was no longer available by the time of the 2022 Broadway transfer. But the shift to new technology ended up deepening the storytelling. "The final act of the play is really enhanced by the ability of the [new] LED rig to produce strong cold blues," Austin noted, as the chilling light sets a melancholy, empty mood.

"Hopefully, [my lighting] supports the actors and Tom's story invisibly — subtly steering the audience’s focus and emotions to create a seamless whole of storytelling narrative," he continued.

![2 leopoldstadt-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/xRyCjmpDUeiKnh86mS1fh/21f4fd224d860b73f7d242e94e3dcbb5/2_leopoldstadt-1200x600-NYTG.jpg)

Other tweaks were made with the audience in mind — Hudson amended his sets to better "facilitate quick, seamless scene changes," as *Leopoldstadt* has no intermission. On the costuming end, Reiffenstuel recognized that the play's dozens of characters are difficult to keep straight. That's partly intentional on Stoppard's part — a major theme of the play is how people and memories fade away in history — but the Broadway transfer allowed her to clarify things.

"[Director] Patrick Marber and I decided to color-code some of the characters’ clothing to make it easier for the audience to follow the character through the ages," she said. Rosa is in blue in 1899, in 1924, and in 1955. Sally is in brown in 1899, 1924, and 1938, and so on. We enhanced this idea in New York."

Their efforts have clearly succeeded. *Leopoldstadt* extended on Broadway multiple times (now through July 2) and has six total Tony nominations.

"I think the play has landed with so much more resonance on Broadway," said Austin. "That’s partly because we’ve had time to adapt and tweak the production, but it’s also undoubtedly the understanding and innate affinity the New York audience[s] have to the story."

It's unfortunate, of course, that this understanding is due to the wide-reaching effects of the Holocaust. But though the play is tragic, its reception in both the U.K. and the U.S. has made working on it a positive experience, reminding the designers — and audiences — of the unifying power of theatre. As Reiffenstuel said, "Art is a global language that communicates and connects us."

"Broadway and West End audiences for a Stoppard play are by and large the same," Hudson observed. "The intense concentration, the appreciation of the profundity of the ideas and words, the humour and the essential importance of the shared experience are the same on both sides of the pond.

"Different cities and collaborators, different cultures and traditions, all linked by one common objective – to make theatre that speaks to everyone."

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*Photo credit: The cast of Leopoldstadt on Broadway. (Photo by Joan Marcus)*

'Leopoldstadt' designers on how the play resonates across time and space

leopoldstadt-1200x600-NYTG

Recommended for 10 +. Children under the age of 4 are not permitted in the theatre.

Leopoldstadt on Broadway - NYC

Leopoldstadt on Broadway

The set, costume, and lighting designers of Tom Stoppard's family epic, all 2023 Tony nominees, spoke about how the show evolved from London to Broadway.

For the past 105 years, the Pulitzer Prizes have highlighted achievements in the arts, journalism, and literature. Many notable and impactful plays have been awarded the Pulitzer Prize for Drama, but that’s not the be-all-end-all of their recognition. Six Pulitzer-winning plays, classic and new, went up this Broadway season alone. What’s more, they all earned Tony nominations: [*Fat Ham*](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets), [*Topdog/Underdog*](https://www.newyorktheatreguide.com/show/25558-topdog-underdog-tickets), [*Between Riverside and Crazy*](https://www.newyorktheatreguide.com/show/26311-between-riverside-and-crazy-tickets), [*Cost of Living*](https://www.newyorktheatreguide.com/show/25892-cost-of-living-tickets), [*The Piano Lesson*](https://www.newyorktheatreguide.com/show/24256-the-piano-lesson-tickets), and [*Death of a Salesman*](https://www.newyorktheatreguide.com/show/25459-death-of-a-salesman-tickets). 

Whether a recent Pulitzer winner or a Pulitzer winner of decades past, each play explores the truths, struggles, and joys of being human. They examine queerness, race, sexuality, disability, legacy, and other deeply resonant themes. Each performance allowed audiences to see themselves represented, opened their eyes to aspects of the world they may not have considered before, or a little bit of both. New York Theatre Guide spoke with actors, writers, and producers from the six Pulitzer-winning plays up for Tony honors this year. 

![fat ham bway-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/zOOvFoV23sUWGl2zDgTZt/f1b5e13cb6f10404cf37736c43087393/fat_ham_bway-1200x600-NYTG.jpg)

## *Fat Ham*

Throughout the years, many variations of Shakespeare's world-renowned Hamlet have premiered on stage, on screen, and even in books. [James Ijames](https://www.newyorktheatreguide.com/theatre-news/interviews/james-ijames-shares-the-ingredients-from-his-life-that-make-up-fat-ham)'s play *Fat Ham*, which won the 2022 Pulitzer Prize for Drama, is the most recent Hamlet adaptation to take theatre by storm. In fact, *Fat Ham* earned an impressive five nominations this award season, including one for Best Play. 

The comedic drama is a Black, queer, contemporary retelling of *Hamlet*, taking place at a modern backyard barbecue. Ijames first read *Hamlet* in college for a student production and fell in love with the play; he started to work on what would become *Fat Ham* about eight years ago with the goal of making a variation of *Hamlet* set in the South. 

"There are a lot of queer people that live in the South; there are a lot of people that are surviving. And if I can give them a mirror of what their life is, that means a lot to me because I didn't have any mirrors," Ijames said. 

Over the pandemic, producer Mandy Hackett read the play and immediately knew it was something special. "I can remember exactly where I was, and when I read it for the first time, and still right now, I can just picture myself holding that script in my hands, and it was like James's words were just popping off the page to me," Hackett said.

The cookout is going on at the American Airlines Theatre through June 25. 

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## *Between Riverside and Crazy*

Stephen Adly Guirgis’s *Between Riverside and Crazy* debuted off Broadway in 2014, and it won the Pulitzer the following year. In 2022, the show’s Broadway debut earned two Tony nominations: one for Best Play and one for Stephen McKinley Henderson for Best Performance by an Actor in a Leading Role in a Play. 

McKinley Henderson was in a hotel room in Toronto when he found out he was nominated for his role as gruff patriarch Walter “Pops” Washington. “Sitting alone just makes you think of all the people who believed in you for so long,” he said. 

One of those people is Guirgis, Henderson’s longtime friend who wrote *Riverside*’s leading role specifically for him. The drama tells the story of how Pops, a retired New York City policeman, battles to keep his rent-controlled apartment on Riverside Drive, where he lives with his son and has unofficially taken in other down-and-outs that come to represent home as much as the apartment does. The play explores family and relationship dynamics, race, addiction, and more. 

This play is personal for Guirgis, and his choice to make the apartment its own character was reflective of his experiences. “When I was growing up, my parents didn't have a lot of money,” he said. “When my father died, I had, like, $2,500 in the bank, but he had that apartment. And it meant the world."

![topdog-1200x600-NYTG 2](//images.ctfassets.net/6pezt69ih962/4DnW7uRSz8LTWuu2VuIE7H/a6c7db1e1781c46c45da66ba0e39c2b3/topdog-1200x600-NYTG_2.jpg)

## *Topdog/Underdog*

In 2002, the dark comedy *Topdog/Underdog* debuted on Broadway to rave reviews, and playwright [Suzan-Lori Parks](https://www.newyorktheatreguide.com/theatre-news/interviews/suzan-lori-parks-reflects-on-20-years-of-topdog-underdog) won the drama Pulitzer for the play that same year. Parks wrote the play in 1999 and said of the writing process, "It was as if someone was pouring silver liquid down the back of my head. I've never had that experience in writing before; it just flowed through me." 

The show, which closed in January, is set in a rundown room at a boarding house and tells the story of two brothers, comically and infamously named Lincoln and Booth, and their struggle to make enough money to survive. 

After 20 years, the show's highly anticipated return to Broadway was a hit once more. It has been nominated for three Tony awards for Best Revival of a Play and both actors in the production, onstage brothers Yahya Abdul-Mateen II and Corey Hawkins, were nominated for Best Performance by an Actor in a Leading Role in a Play. 

Parks explained that the audience was incredibly receptive to the play, saying, "When we embrace those two men in their broken, troubled, loving, striving state, we embrace that part of ourselves that is the same. People get it now in a way that they wanted to get it, maybe, 20 years ago." 

![piano lesson-1200x600-NYTG 5](//images.ctfassets.net/6pezt69ih962/3HhYMMBUjaVNj6R0LbAlZF/8180b3a904e1aee149d9838eace3111d/piano_lesson-1200x600-NYTG_5.jpg)

## *The Piano Lesson*

Playwright August Wilson had a storied career writing numerous heart-touching and award-winning plays, and his work continues to make an impact. Wilson’s *The Piano Lesson*, which initially premiered in 1987 and won the 1990 Pulitzer, came back to Broadway in the fall and was nominated for Best Play Revival. 

“We're very lucky that August Wilson's words are timeless, very lucky *The Piano Lesson* is this type of show that really speaks to a brand-new audience of people,” producer Brian Moreland said. 

*The Piano Lesson* is set in 1936 Pittsburgh, focusing on the Charles family as they decide what to do with their family heirloom piano, which has carvings from an enslaved ancestor. The show takes place in the home of elder Uncle Doaker Charles, the unofficial family historian played by Samuel L. Jackson, who received a Tony nomination for the role. 

Moreland explained two main reasons for reviving this show on Broadway, and the two are married — literally. One was getting to work with director LaTanya Richardson Jackson, and the other was Samuel L. Jackson. “This character of Doaker Charles is the heartbeat of the play, and it's such a quiet, graceful, layered performance,” Moreland said.

![doas 3-750](//images.ctfassets.net/6pezt69ih962/3sUfbyCyOo8XhGxt42OCWR/ee9acd2032526b851d92fb92e20f1f70/doas_3-750.jpg)

## *Death of a Salesman*

*Death of a Salesman* is a timeless classic tragedy by Arthur Miller, which first debuted on Broadway in 1949 and received the Pulitzer Prize for Drama that year. Broadway revivals took the stage in 1975, 1984, 1999, 2012, and 2022. Each revival has received award nominations and wins, and this revival is no different. Its two Tony Award nominations are Best Lighting and Best Performance by a Lead Actor in a Play by Wendell Pierce. 

“I was having feelings of considering whether my best days were behind me as an artist and questioning myself,” Pierce admitted. “Then I was presented this opportunity to play Willy Loman, which is one of the great challenges in the American canon of the theatre, and I leaped at the opportunity.”

The play, set in 1949 in the Loman home in Brooklyn, New York, looks back on failed salesman Willy Loman’s life through a montage of dreams, memories, and arguments on the cusp of his death. The play explores the idea of the American dream of success — also Loman’s dream — and how that differed so strongly from how his life turned out. Pierce, who previously played Willy in London, became the first Black man to play him on Broadway.

“I knew that I had a unique experience to connect with the play as an African American," Pierce said. “Who better to depict and explore how the American dream can be denied and turned into the American nightmare?”

![cost of living-1200x600 1-NYTG](//images.ctfassets.net/6pezt69ih962/4sx5ql7dATb87hJnXSnBFl/bec3162b5864b0ddb49bfe69345e6efa/cost_of_living-1200x600_1-NYTG.jpg)

## *Cost of Living*

The 2018 Pulitzer Prize-winning play, *Cost of Living*, had its Broadway debut in the fall of 2022 after its Lucille Lortel Award-winning Off-Broadway run at New York City Center in 2017. The Broadway performance, with the original director and two original cast members, was also a hit. *Cost of Living* has been nominated for five Tony Awards, including Best Play and Best Direction for Jo Bonney. Three actors, including original cast member Katy Sullivan, were nominated for their roles. 

Martyna Majok’s one-act drama examines two relationships, one between a graduate student with cerebral palsy, John, and his caregiver, Jess. The other relationship is between Ani, who became a quadriplegic following an accident, and her ex-husband, Eddie. This show explores the overlap between caregiving and being cared for and the intersections of oppression due to financial status, gender, and race.

Something of utmost importance to Majok is having disabled characters played by disabled actors. Sullivan, a quadriplegic, is nominated for her role as Ani. “My hope is, by the love that this piece is getting, it will hopefully make other producers and decision-makers understand the impact that authentic casting can make,” said Sullivan.

"I hope that this means that there's going to be more disabled playwrights and disabled actors on Broadway,” Majok added. “These shows belong on Broadway. These stories, these performances belong on Broadway.”

*In-article photo credits: Fat Ham, Between Riverside and Crazy, Topdog/Underdog, The Piano Lesson, Death of a Salesman, and Cost of Living. (Photos by Joan Marcus, Joan Marcus, Marc J. Franklin, Julieta Cervantes,Joan Marcus, and Jeremy Daniel.)*

Six Pulitzer-Prize winning plays are nominated for Tony Awards this season

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Fat Ham on Broadway - NYC

Fat Ham on Broadway

This season, six classic and contemporary Pulitzer Prize-winning plays, including new premieres and revivals, have earned at least one Tony Award nomination.

Start spreading the news! [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets) has released a new ticket block, with Broadway performances now on sale through January 14, 2024. Get *New York, New York* tickets now.

*New York, New York* centers on the against-all-odds love story between Jimmy and Francine, two young musicians in 1946 Manhattan. The show also follows various other young artists as they seek success, or just survival, in the city.

The show is loosely based on the 1977 Martin Scorsese film, which features songs by John Kander and Fred Ebb. All those songs, including the iconic title theme, are in the show, alongside cut songs from Kander and Ebb's other shows and new songs by Kander and Lin-Manuel Miranda. [Learn more about all the songs in *New York, New York*.](https://www.newyorktheatreguide.com/theatre-news/news/all-the-songs-in-new-york-new-york-on-broadway)

*New York, New York* is currently nominated for nine Tony Awards, including Best Musical, Best Book of a Musical, and multiple design awards. [Discover how the designers recreated 1946 New York.](https://www.newyorktheatreguide.com/theatre-news/news/how-the-new-york-new-york-designers-recreated-the-city-on-stage)

Get [*New York, New York* tickets](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets) now.

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*Photo credit: New York, New York on Broadway. (Photo by Paul Solnik)*

'New York, New York' tickets on sale through January 2024

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New York, New York on Broadway - NYC

New York, New York on Broadway

The new Broadway musical, set in 1946 Manhattan, is nominated for nine 2023 Tony Awards and features a score by John Kander, Fred Ebb, and Lin-Manuel Miranda.

The old adage says lightning doesn’t strike the same place twice, but this year, some [Tony Award nominees](https://www.newyorktheatreguide.com/theatre-news/news/2023-tony-award-nominees-announced) are defying that logic.

“Anything is possible!” said Natasha Katz, who is nominated for her lighting designs for both [*Sweeney Todd*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets) and [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets). While the recognition is undoubtedly nice, per Katz, “It’s the community that I cherish so much. To be embraced like this feels incredible.”

Katz has long been a Broadway mainstay, first earning a Tony nod for *Beauty and the Beast* in 1994 before winning seven across her illustrious career. “I try to design every show with an open mind, starting with a blank slate. Every show is different,” she said. 

This season, she’s working on tonal opposites. “In *Sweeney*, I hope the lighting helps tell the tale of the light and dark of humanity through the visual of shadow and light. And the glorious Sondheim music! The lighting varies in tone with the score, from spooky and eerie, to light and airy,” she said. 

![5 some like it hot-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/4xXLSOfbiq73wS9e3skTJH/db46491d33d6e9170c91cff7be6a26a0/5_some_like_it_hot-1200x600-NYTG.jpg)

“On the other hand, *Some Like It Hot* has bright, colorful lighting that constantly changes with every musical key change, accentuating the choreography, the music, and the story," she continued. "I’m proud that I was able to dig deep into two shows that required such different skills as a lighting designer.”

Katz isn’t the only designer pulling double duty this awards season: Scott Pask is up for the Best Scenic Design of a Musical award for both [*Shucked*](https://www.newyorktheatreguide.com/show/26987-shucked-tickets) and *Some Like It Hot*. And while Pask is technically competing with himself in the same category, that’s not how the esteemed designer sees it. 

“I don't have that inner competition anymore; I’m more wanting each project to be bettering itself, and that's why I'm so lucky and blessed to be working with this incredible director and these teams,” he said. “[Their] collaborations and conversations allow me to do the best work and to be recognized for these two shows.”

![1 shucked-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/1sRWPx9CnFY77Dc8QPcpPy/ba2c5cb94d87f7d89935cec82c38a3f9/1_shucked-1200x600-NYTG.jpg)

[Jennifer Weber](https://www.newyorktheatreguide.com/theatre-news/interviews/choreographer-jennifer-weber-proves-her-versatility-on-broadway) is also doubly nominated in the same category: Best Choreography. Her dance moves for [*KPOP*](https://www.newyorktheatreguide.com/show/24236-kpop-tickets) and [*& Juliet*](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets)
were informed by separate sources — *KPOP* by the world of Korean pop and her collaborator MJ Choi, and *& Juliet* by her own recollection of the '90s American pop scene — with the goal being to “just make each show authentic to itself,” she shared. 

Unlike Pask and Katz, Weber is a first-time nominee — and the two nominations made for a double surprise. “I was so nervous, and I woke up early, and I had coffee with my girlfriend — we were watching the livestream, and my heart was beating out of my chest,” she recalled. “And then they’re going through the names listing people like Steven Hoggett, Casey Nicholaw, and Susan Stroman, and these are my idols. To hear those three names and then hear my name, I literally jumped up out of my chair. And then I heard my name a second time, and I fell back down.”

![& juliet review-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/4KooXN8L2Xz1gBBX1wixi4/53e5d190aa813cdfed2be4ac783ceb49/__juliet_review-1200x600-NYTG.jpg)

One of her role models joins her as a double nominee. Nicholaw, who's been double-nominated in four previous seasons, is now representing *Some Like It Hot* in the Best Direction and Choreographer categories. “I love doing both jobs because I’m able to create the whole show as one piece and blend the numbers and scenes seamlessly with one voice,” he said. 

Rounding out the count of this year's dual nominees are David Lindsay-Abaire (book and lyrics for *Kimberly Akimbo*) Emilio Sosa (costume design for [*Ain't No Mo'*](https://www.newyorktheatreguide.com/show/25907-aint-no-mo-tickets) and [*Good Night, Oscar*](https://www.newyorktheatreguide.com/show/26390-good-night-oscar-tickets)), Jordan E. Cooper (for writing and starring in *Ain't No Mo'*), and Ben and Max Ringham (sound design for [*A Doll's House*](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets) and [*Prima Facie*](https://www.newyorktheatreguide.com/show/25983-prima-facie-tickets)). As with all the other nominees, Nicholaw sees the recognition as an engine “to just keep doing what you love to do and keep striving to get better at it,” he said.

The audience’s warm response doesn’t hurt, either. “The sheer number of people who have been writing me about how much they enjoyed and admired the show is what is really moving to me,” he said. “That makes me feel extremely proud.”

Get *[Sweeney Todd](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)* tickets now.

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Get *[Some Like It Hot](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets)* tickets now.

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*Top image credit: Sweeney Todd on Broadway. (Photo by Matthew Murphy and Evan Zimmerman)*
*In-article images credit: Some Like It Hot, Shucked, and & Juliet on Broadway. (Photos by Marc J. Franklin, Matthew Murphy, and Evan Zimmerman)*

Tonys times two: Meet the Broadway artists nominated for two Tonys this season

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2 sweeney-1200x600-NYTG

This season, several Tony Award nominees earned two acknowledgments across categories and productions for their exceptional work on multiple shows.

The official start of summer isn't until later in June, but you can get in the summer mood all month by planning an escape — at the theatre, that is! Theatre is a great way to travel to new worlds and escape the routine of daily life without jet lag or carsickness. And if you've already traveled just to get to New York, then make sure a show or two is a must-see item on your itinerary.

Broadway and Off-Broadway shows in June will whisk you away to places near and far, real and fantastical. Discover theatre shows opening in June below, and read our roundup of [top May theatre](https://www.newyorktheatreguide.com/theatre-news/news/new-york-theatre-to-see-in-may) to discover shows from last month that you can still see in June. You can also check out more fan-favorite [Off-Broadway and Broadway shows that will be around all summer](https://www.newyorktheatreguide.com/theatre-news/news/top-theatre-to-see-in-new-york-this-summer).

Plus, don't forget that the Tony Awards take place in June! Get [theatre tickets to the hottest Tony-nominated shows](https://www.newyorktheatreguide.com/whats-on/tony-award-nominees) now before they win. 

Get tickets to a New York show on New York Theatre Guide.

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## *Prima Facie*

Don't miss [Jodie Comer](https://www.newyorktheatreguide.com/stars-on-stage/jodie-comer)'s Broadway debut in this tour-de-force one-woman show through June 18. Comer commands the stage as Tessa, a brilliant defense attorney who reevaluates her entire profession after suffering an assault. She won an Olivier and an Evening Standard Award for her performance in London, and the show remains just as urgent and unmissable in New York.

Get [*Prima Facie* tickets](https://www.newyorktheatreguide.com/show/25983-prima-facie-tickets) now.

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## *Fat Ham*

Join the cookout before it fizzles out on June 25! James Ijames Pulitzer-winning play *Fat Ham* takes Shakespeare's *Hamlet* and flips it on its head. Juicy, a queer, Black college student, is tasked with revenge, Hamlet-style — but he's not up for murder, so what's the alternative? The show serves up a healthy dose of comedy with sides of karaoke, charades, and healing. 

Get [*Fat Ham* tickets](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets) now.

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## *Summer, 1976*

Summer doesn't start until June 21, but *Summer, 1976* is over on June 18. Don't miss your chance to see Tony nominees [Laura Linney](https://www.newyorktheatreguide.com/stars-on-stage/laura-linney) and [Jessica Hecht](https://www.newyorktheatreguide.com/stars-on-stage/jessica-hecht) on stage together, starring as two mothers who strike up an unlikely and life-changing friendship one summer.

Get [*Summer, 1976* tickets](https://www.newyorktheatreguide.com/show/25993-summer-1976-tickets) now.

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## *Here Lies Love*

Love finally lies on Broadway — 10 years after its critically acclaimed premiere at The Public Theater, [David Byrne](https://www.newyorktheatreguide.com/stars-on-stage/david-byrne) and Fatboy Slim's musical *Here Lies Love* takes the Broadway stage from June 17. In an immersive disco setting with music to match, the show tells the true story of how Imelda and Ferdinand Marcos's regime rose in the Philippines and fell just as quickly at the hands of the People Power Revolution.

Get [*Here Lies Love* tickets](https://www.newyorktheatreguide.com/show/27415-here-lies-love-on-broadway) now.

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## *Alex Edelman: Just For Us*

He's returning to New York just for us. Comedian Alex Edelman brings his hilarious stand-up show to Broadway after having three sold-out Off-Broadway runs last year. From June 22 to August 19 only, you can hear how he, a Jewish man, infiltrated a local neo-Nazi meeting after getting hate from the group online. A [five-star New York Theatre Guide review](https://www.newyorktheatreguide.com/reviews/alex-edelman-just-for-us-review-cherry-lane-theatre) called Edelman and the show "top-notch."

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## *The Doctor*

Juliet Stevenson reprises her acclaimed title role from London in Robert Icke's show. Adapted from Arthur Schnitzler's 1912 play *Professor Bernhardi*, *The Doctor* follows a Viennese doctor who refuses last rites for a girl who does not know she is dying, sparking a national public debate on ethics. See Stevenson's tour-de-force performance at the [Park Avenue Armory](https://www.newyorktheatreguide.com/theatres/park-avenue-armory) from June 3 to August 19.

Get [*The Doctor* tickets](https://www.newyorktheatreguide.com/show/28148-the-doctor-tickets) now.

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## *A Simulacrum*

What happens when a playwright/director and a magician team up to create a show together? Find out at *A Simulacrum*, playing through June 24. Tony-nominated playwright Lucas Hnath directs this show he created with sleight-of-hand artist Steve Cuiffo, who Hnath once asked to show him a few tricks. Cuiffo performs what happened next, and the result is sure to be magical.

Get [*A Simulacrum* tickets](https://www.newyorktheatreguide.com/show/26024-a-simulacrum-tickets) now.

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## *One Woman Show*

Fans of *Fleabag* will love this performance by Liz Kingsman, off Broadway from June 14 after a lauded London run. Kingsman adopts a Fleabag-esque alter ego to lovingly spoof not only that series, but the slew of "messy woman" media that followed it. Moreso, though, she provides witty and hilarious commentary on why these types of "one woman shows" seem to be the only way funny women can succeed.

Get [*One Woman Show* tickets](https://www.newyorktheatreguide.com/show/28502-one-woman-show) now.

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## *Rock & Roll Man*

You may not know the name Alan Freed, but you definitely know the rock and roll songs he popularized on his radio stations: "Tutti Frutti," "Great Balls of Fire," "I Put a Spell on You," and many more. In this musical set to these classic hits and more, discover the contentious but undeniably impactful legacy of the man who pioneered, and integrated, rock and roll as we know it. The show plays at [New World Stages](https://www.newyorktheatreguide.com/theatres/new-world-stages) through September 3.

Get [*Rock & Roll Man* tickets](https://www.newyorktheatreguide.com/show/28348-rock-and-roll-man-tickets) now.

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## *Hamlet*

The Public Theater's Free Shakespeare in the Park program returns this summer with *Hamlet*, directed by Tony Award winner Kenny Leon and starring Tony nominee Ato Blankson-Wood in the title role. See the classic story of the title prince, tasked with avenging his father by killing his uncle, under the stars at Central Park's Delacorte Theater. All tickets to *Hamlet* are free and are distributed across a variety of in-person and digital channels.

Top theatre to see in New York in June

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Discover our top picks for Broadway shows and Off-Broadway shows to see this month, including new shows premiering and last-chance shows closing this month.

Top theatre to see in New York in June | New York Theatre Guide

Discover our top picks of New York theatre to check out in June 2023, including new, exciting Broadway and Off-Broadway shows to see all across the city.

The United States has long seen cultural divides between its North and South. However, this Broadway season, Tony-nominated shows remind audiences that the Bible Belt is not a monolith — many peoples, traditions, and politics inhabit the American South.

“There are a lot of queer people that live in the South,” said [James Ijames](https://www.newyorktheatreguide.com/theatre-news/interviews/james-ijames-shares-the-ingredients-from-his-life-that-make-up-fat-ham), whose Pulitzer Prize-winning play [*Fat Ham*](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets), a riff on *Hamlet* that centers Black queerness in a culture of toxic masculinity, is now nominated for the Tony Award for Best Play. “There are a lot of people that are surviving down there. If I can give them a mirror of what their life is, that means a lot to me because I didn't have any mirrors.” 

*Fat Ham* is not alone in gifting a reflection: While Ijames’s show offers Southern, Black queer folks visibility on stage, [*Shucked*](https://www.newyorktheatreguide.com/show/26987-shucked-tickets) (up for nine Tonys including Best Musical) is also showing Midwesterners and Southerners — traveling from afar to see these shows — that they, too, can be the main characters in a story and not the butt of its jokes.

![fat ham cast-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/41lt1exAkpZ0vCWxwKODsZ/242b1de10752f6f09ac094ed51b942b4/fat_ham_cast-1200x600-NYTG.jpg)

“I'm from Texas, from a rodeo background, so I know the people — my kinfolk are scattered all over that stage at the Nederlander,” said [Kevin Cahoon](https://www.newyorktheatreguide.com/theatre-news/interviews/kevin-cahoon-taps-into-his-hometown-heart-in-shucked-on-broadway), who is nominated for Best Featured Actor in a Musical for his side-splitting turn as Peanut. Cahoon may be earning laughs as Cob County's witty jack of all trades, but he also knows *Shucked* can reveal more than just corn puns and an entertaining love story.

“When I was researching the role and thinking about these country comedians that came out in the Dust Bowl of the Great Depression, like Minnie Pearl and Jerry Clower, they were speaking to rural America,” Cahoon shared. “Rural Americans were not seeing themselves in popular culture. So to see a simple, truthful, honest, heartfelt representation — I've had so many people at the line signing at the end of the night say, ‘We're from Nebraska, we're from Ohio, we're from Iowa, and we have never felt like we had been seen in a Broadway show like we are being seen in this.’ That’s special, and it's what keeps Broadway alive, right?”

Tony-nominated librettist Robert Horn has similarly witnessed the show’s gravitational pull.

“Every night, people come up to us and say, I never thought I'd see myself represented on a Broadway stage,” he shared. “I felt that way when I saw *Rent* for the first time. I was like, here I am, a gay man. I've never really seen musicals [like] that. Granted, there were some dark themes in that because of the times, but I felt seen and represented.” 

Horn, whose own in-laws are from the South, wrote *Shucked* from a knowing but loving place. He knew a way to bridge gaps would be to create a story that “never condescends,” he said. “It never looks down on these characters. It never makes them tropes — they really are characters in the community and you take that journey with them. It was really important to me not to make fun.”

He named his mother-in-law as one person who helped him find the heart of his characters and reframe one Southern stereotype, religiousness, in a positive light. "She's got this devout faith, which I don't," Horn said. "I am envious of the fact that she has something that she believes in that gets her through dark times.

"A lot of that is what inspired me... [The characters have] this belief in each other, this solidarity, this family that truly comes from their faith." 

Horn’s effort to create “a deeper message,” in which, he said, “you can't just do comedy,” parallels Ijames’s in *Fat Ham*, where a family barbecue becomes a powder keg for unearthing past traumas and a homophobic lineage. 

“Black stories are important in and of themselves, queer stories are important in and of themselves, Southern stories are important in and of themselves, and so the combination is important,” he said. 

*Shucked* also wins hearts by exploring the combination of identities. “I'm married to a Southern man whose family is Southern Baptist, very conservative, and I’m a Jew from Brooklyn,” Horn said. “But we break bread. I love my in-laws and I love my family. They’re just different. Not worse, not better. They're just different. And I wanted to connect those two worlds.”

Get *[Shucked](https://www.newyorktheatreguide.com/show/26987-shucked-tickets)* tickets now.

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Get *[Fat Ham](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets)* tickets now.

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*Top image credit: The Broadway cast of Shucked. (Photo by Matthew Murphy and Evan Zimmerman)*  
*In-article image credit: The Broadway cast of Fat Ham. (Photo by Joan Marcus)

Tony-nominated shows shatter stereotypes of the American South

Shucked Cast

Shucked-NYTG-1200X600

*Shucked*, set in a fictional rural town, and *Fat Ham*, set in the modern South, bridge cultural divides and offer an affirming portrayal of the region on Broadway.

The 2023 Drama League Awards winners were announced today in a ceremony hosted at the Ziegfeld Ballroom by Emmy Award-winning NY1 theatre reporter Frank DiLella.

The Drama League gives out seven awards each year: four to productions, two for direction, and one to a distinguished performer, an honor an actor can only win once in their lifetime. The awards recognize Broadway and Off-Broadway productions in the same categories.

This year, all seven prizes went to Broadway productions and actors. Two awards went to the revival of *Into the Woods*, while five other productions got one prize each.

Find out all the nominees and winners of this year's awards below. Winners are denoted with an asterisk.

__Outstanding Production of a Broadway or Off-Broadway Play__

- [*Leopoldstadt*](https://www.newyorktheatreguide.com/show/26003-leopoldstadt-tickets)*
- *the bandaged place*
- *Cost of Living*
- *Dark Disabled Stories*
- *Downstate*
- *Elyria*
- [*Fat Ham*](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets)
- [*Good Night, Oscar*](https://www.newyorktheatreguide.com/show/26390-good-night-oscar-tickets)
- [*Life of Pi*](https://www.newyorktheatreguide.com/show/26712-life-of-pi-tickets)
- [*Peter Pan Goes Wrong*](https://www.newyorktheatreguide.com/show/27336-peter-pan-goes-wrong-tickets)
- [*Prima Facie*](https://www.newyorktheatreguide.com/show/25983-prima-facie-tickets)
- *Public Obscenities*
- [*Summer, 1976*](https://www.newyorktheatreguide.com/show/25993-summer-1976-tickets)

Get [*Leopoldstadt* tickets](https://www.newyorktheatreguide.com/show/26003-leopoldstadt-tickets) now.

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__Outstanding Revival of a Broadway or Off-Broadway Play__

- [*A Doll’s House*](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets)*
- *Ohio State Murders*
- *Hamlet/Oresteia*
- *The Piano Lesson*
- *A Raisin in the Sun*
- [*The Sign in Sidney Brustein’s Window*](https://www.newyorktheatreguide.com/show/26553-the-sign-in-sidney-brusteins-window-tickets)
- [*The Thanksgiving Play*](https://www.newyorktheatreguide.com/show/26005-the-thanksgiving-play-tickets)
- *Topdog/Underdog*
- *Wedding Band: A Love/Hate Story in Black and White*
- *Wolf Play*

Get [*A Doll's House* tickets](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets) now.

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__Outstanding Production of a Broadway or Off-Broadway Musical__

- [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets)*
- [*& Juliet*](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets)
- [*A Beautiful Noise, The Neil Diamond Musical*](https://www.newyorktheatreguide.com/show/24254-a-beautiful-noise-tickets)
- *Dreaming Zenzile*
- [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets)
- [*Shucked*](https://www.newyorktheatreguide.com/show/26987-shucked-tickets)
- [*Titanique*](https://www.newyorktheatreguide.com/show/25241-titanique-tickets)
- *White Girl in Danger*
- *Wise Children’s Wuthering Heights*

Get [*Some Like It Hot* tickets](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets) now.

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__Outstanding Revival of a Broadway or Off-Broadway Musical__

- *Into the Woods**
- *Bob Fosse’s Dancin’*
- [*Camelot*](https://www.newyorktheatreguide.com/show/25210-camelot-tickets)
- *A Man of No Importance*
- [*Parade*](https://www.newyorktheatreguide.com/show/26500-parade)
- *1776*
- [*Sweeney Todd: The Demon Barber of Fleet Street*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)

__Outstanding Direction of a Play__

- Anne Kauffman, [*The Sign in Sidney Brustein’s Window*](https://www.newyorktheatreguide.com/show/26553-the-sign-in-sidney-brusteins-window-tickets)*
- Jo Bonney, *Cost of Living*
- Shayok Misha Chowdhury, *Public Obscenities*
- Kenny Leon, *Topdog/Underdog*
- Jamie Lloyd, [*A Doll’s House*](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets)
- David Mendizábal, *the bandaged place*
- Awoye Timpo, *Elyria* and *Wedding Band: A Love/Hate Story in Black and White*
- Dustin Wills, *Wolf Play*

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__Outstanding Direction of a Musical__

- Lear deBessonet, *Into the Woods**
- Lileana Blain-Cruz, *Dreaming Zenzile* and *White Girl In Danger*
- Thomas Kail, [*Sweeney Todd: The Demon Barber of Fleet Street*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)
- Casey Nicholaw, [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets)
- Jack O’Brien, [*Shucked*](https://www.newyorktheatreguide.com/show/26987-shucked-tickets)
- Bartlett Sher, [*Camelot*](https://www.newyorktheatreguide.com/show/25210-camelot-tickets)
- Susan Stroman, [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets)

__Distinguished Performance Award__

- [Annaleigh Ashford](https://www.newyorktheatreguide.com/stars-on-stage/annaleigh-ashford), [*Sweeney Todd: The Demon Barber of Fleet Street*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)*
- Yahya Abdul-Mateen II, *Topdog/Underdog*
- Hiran Abeysekera, [*Life of Pi*](https://www.newyorktheatreguide.com/show/26712-life-of-pi-tickets)
- [Sara Bareilles](https://www.newyorktheatreguide.com/stars-on-stage/sara-bareilles), *Into the Woods*
- Stephanie Berry, *the bandaged place*
- Brittany Bradford, *Wedding Band: A Love/Hate Story In Black And White*
- Danielle Brooks, *The Piano Lesson*
- [Rachel Brosnahan](https://www.newyorktheatreguide.com/stars-on-stage/rachel-brosnahan), [*The Sign in Sidney Brustein’s Window*](https://www.newyorktheatreguide.com/show/26553-the-sign-in-sidney-brusteins-window-tickets)
- Marylouise Burke, *Epiphany*
- D’Arcy Carden, [*The Thanksgiving Play*](https://www.newyorktheatreguide.com/show/26005-the-thanksgiving-play-tickets)
- [Jessica Chastain](https://www.newyorktheatreguide.com/stars-on-stage/jessica-chastain), [*A Doll’s House*](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets)
- [Sharon D Clarke](https://www.newyorktheatreguide.com/stars-on-stage/sharon-d-clarke), *Death of a Salesman*
- [Jodie Comer](https://www.newyorktheatreguide.com/stars-on-stage/jodie-comer), [*Prima Facie*](https://www.newyorktheatreguide.com/show/25983-prima-facie-tickets)
- Jordan E. Cooper, *Ain’t No Mo’*
- Lorna Courtney, [*& Juliet*](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets)
- Micaela Diamond, [*Parade*](https://www.newyorktheatreguide.com/show/26500-parade)
- K. Todd Freeman, *Downstate*
- J. Harrison Ghee, [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets)
- [Josh Groban](https://www.newyorktheatreguide.com/stars-on-stage/josh-groban), [*Sweeney Todd: The Demon Barber of Fleet Street*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)
- Ryan J. Haddad, *Dark Disabled Stories*
- Corey Hawkins, *Topdog/Underdog*
- [Sean Hayes](https://www.newyorktheatreguide.com/stars-on-stage/sean-hayes), [*Good Night, Oscar*](https://www.newyorktheatreguide.com/show/26390-good-night-oscar-tickets)
- Stephen McKinley Henderson, *Between Riverside and Crazy*
- [Oscar Isaac](https://www.newyorktheatreguide.com/stars-on-stage/oscar-isaac), [*The Sign in Sidney Brustein’s Window*](https://www.newyorktheatreguide.com/show/26553-the-sign-in-sidney-brusteins-window-tickets)
- Tarra Conner Jones, *White Girl in Danger*
- Esco Jouléy, *Wolf Play*
- Somi Kakoma, *Dreaming Zenzile*
- David Krumholtz, [*Leopoldstadt*](https://www.newyorktheatreguide.com/show/26003-leopoldstadt-tickets)
- Linda Lavin, *You Will Get Sick*
- [Laura Linney](https://www.newyorktheatreguide.com/stars-on-stage/laura-linney), [*Summer, 1976*](https://www.newyorktheatreguide.com/show/25993-summer-1976-tickets)
- Jefferson Mays, *A Christmas Carol*
- Patina Miller, *Into the Woods*
- Marla Mindelle, [*Titanique*](https://www.newyorktheatreguide.com/show/25241-titanique-tickets)
- Arian Moayed, [*A Doll’s House*](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets)
- Gargi Mukherjee, *Public Obscenities*
- Alex Newell, [*Shucked*](https://www.newyorktheatreguide.com/show/26987-shucked-tickets)
- Jeremy Pope, *The Collaboration*
- Colton Ryan, [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets)
- Phillipa Soo, [*Camelot*](https://www.newyorktheatreguide.com/show/25210-camelot-tickets)
- Marcel Spears, [*Fat Ham*](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets)
- Katy Sullivan, *Cost of Living*
- Will Swenson, [*A Beautiful Noise, The Neil Diamond Musical*](https://www.newyorktheatreguide.com/show/24254-a-beautiful-noise-tickets)
- John Douglas Thompson, *Endgame*
- Anna Uzele, [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets)
- John David Washington, *The Piano Lesson*
- Betsy Wolfe, [*& Juliet*](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets)
- David Zayas, *Cost of Living*

Get [*Sweeney Todd* tickets](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets) now.

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2023 Drama League Award winners announced

The Drama League

The annual awards honor outstanding Broadway and Off-Broadway productions, as well as one distinguished performer in a play or musical from the season.

The [novel-turned-film-turned-play](https://www.newyorktheatreguide.com/theatre-news/news/everything-you-need-to-know-about-life-of-pi-on-broadway) [*Life of Pi*](https://www.newyorktheatreguide.com/show/26712-life-of-pi-tickets) comes to life on stage with the help of [lifelike puppets and immersive design](https://www.newyorktheatreguide.com/theatre-news/news/how-the-life-of-pi-broadway-puppets-make-animals-come-alive) elements that transport audiences from a zoo in Pondicherry, India, to the open waters of the Pacific Ocean to a Mexican hospital room.

The imaginative story follows 16-year-old Pi, the sole human survivor of a shipwreck, who must fend for himself while traversing the ocean in a lifeboat with a Bengal tiger, orangutan, zebra, and hyena. Their survival journey is mind-bending and magical.

In many ways, the story’s puppetry design — and stage success — hinged on Richard Parker, the tiger. Finn Caldwell and Nick Barnes, the show’s co-puppet designers, built a prototype for an early workshop informed by research on tigers’ muscular anatomy. 

“We needed to know if it could move like a tiger — walk, jump on the edge of the boat, move around,” said Caldwell. “But the real question was, can we make the audience and the actor playing Pi actually frightened and scared?”

When the tiger prototype charged toward actor Hiran Abeysekera in rehearsal, and Abeysekera ran away in fear, the puppeteers knew they were on the right track. And while the puppet design may be the linchpin of the show’s magic, the set, costumes, and seamlessly integrated projection and lighting design are equally transportive.

The show first bowed at the Crucible Theatre in 2019 in Sheffield, England, before transferring to Wyndham’s Theatre in London’s West End in 2021. After winning five Olivier Awards, Lolita Chakrabarti’s stage adaptation made its way across the pond to Broadway in 2023, where it earned five Tony Award nominations, including for scenic design, lighting design, and costumes. 

![life of pi puppets 2-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/Z2FLwaRpICs4rAL9kQYpm/08955cd17b3a6c9dc40986c2da8502ce/life_of_pi_puppets_2-1200x600-NYTG.jpg)

The Broadway transfer gave the cast and creative team the opportunity to make changes. "We were able to make some positive adjustments to the story based on the feedback from the West End," said director Max Webster, noting the first act was tightened. 

The move also gave the deisgners the opportunity to expand the design elements of the show. “It is always good to get the opportunity to work on a show for a second (or third, or fourth...) time,” said scenic and costume designer Tim Hatley. “In my experience designing for theatre and film over the past 30 years, I have never walked away from a production thinking I have managed to get it all right.”

Most importantly, the design teams needed to adjust the scope and scale of the scenic design to fit the [Gerald Schoenfeld Theatre](https://www.newyorktheatreguide.com/theatres/gerald-schoenfeld-theatre) in New York, which is wider and shallower than Wyndham’s. “This has, of course, had a knock-on effect, and video and lighting have had to adapt their designs to work with the new dimensions,” Hatley said.

For his part, video designer Andrzej Goulding (co-nominated with Hatley in the scenic design category) upgraded the show’s simulations. He also worked with lighting designer Tim Lutkin to recolor some scenes for the Broadway run and blend his projections, which naturally light the set, with Lutkin's lighting of the actors. The designers also had to adjust certain visual elements to accommodate different sight lines. 

“The heart of the design is the ability to transition seamlessly from the hospital into Pi’s story, which is, for the most part, at sea,” said Hatley. The split-second transitions, which happen in full view of the audience, are integral to the narrative. “This was my challenge as the designer of the show, and I am pleased to have pulled it off.”

![life of pi puppets 4-1200x600](//images.ctfassets.net/6pezt69ih962/37kjOUuzH47izI5ZhIgsDi/b03d00e4f4a0fe1636261f369701c29f/life_of_pi_puppets_4-1200x600.jpg)

The puppets did not undergo a major transformation from London to New York, but the big question was whether Broadway audiences would be receptive to the animals, especially since shows involving puppetry are increasingly popular in British theatre and less mainstream in New York. 

“Audiences have all been very positive towards the production," said Hatley. "I think the staging and the puppets make it stand out as something that is very different from a regular play. Audiences on both sides of the Atlantic have gone out of their way to congratulate me on the ingenuity of the designs.”

Webster agreed. "There is something very special in this story that touches people and that somehow resonated in a similar way in both countries... I feel a surge of excitement and gratitude every time I hear that roar at the end of the show and the audience stands up!" 

Get [*Life of Pi* tickets](https://www.newyorktheatreguide.com/show/26712-life-of-pi-tickets) now.

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*Photo credit: Hiran Abeysekera and Richard Parker (Fred Davis, Scarlet Wildernik, Andrew Wilson) in Life of Pi on Broadway. (Photo by Matthew Murphy & Evan Zimmerman for MurphyMade)

How ‘Life of Pi’ found its roar on Broadway

life of pi puppets-1200x600-NYTG

life of pi puppets 1-1200x600-NYTG

Life of Pi on Broadway - NYC

Life of Pi on Broadway

The Tony-nominated design team and director of the adventure play talk about how the production design, including puppetry, transformed from London to Broadway.

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Jim Steinman's&nbsp;Bat Out of Hell: The Musical&nbsp;staged&nbsp;its New York premiere at New York City Center from August 1 to September 8, 2019.The musical features iconic Meatloaf songs from the infamous "Bat Out of Hell" albums such as "I Would Do Anything for Love (But I Won't Do That)," "It's All Coming Back to Me Now,"&nbsp;"You Took the Words Right Out of My Mouth," and, of course,&nbsp;the titular&nbsp;song. It premiered in Manchester, England in February 2017, before heading to the London Coliseum in June 2017 and then onto Toronto, Canada in October 2017. It returned to the West End for an open-ended engagement at the Dominion Theatre from April 2018 and played its final West End performance on January 5, 2019.(Photos courtesy of Little Fang Photo / Specular)

Bat Out of Hell: The Musical - NYC - New York Theatre Guide

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To determine if you will enjoy&nbsp;<a href="/show/bat-out-of-hell-the-musical">Bat Out of Hell</a>, Jim Steinman's explosive musical that's blowing up the <a href="/theatres/new-york-city-center">New York City Center</a> stage for the next month, take this simple test. Does the simile, "We're glowing like the metal on the edge of a knife" give you A) goosebumps, or B) nausea? For a certain generation, that sweltering image, and the song that encompasses it ("Paradise by the Dashboard Light"), was the ultimate adolescent aspirational anthem, a jokey double-dare of sex and commitment aimed at kids barely old enough to drive or to rock. Those willing to buy into such a grandiose, "we're gonna go all the way tonight" mindset will find much to love in this production which features Steinman's aching music from the three "Bat Out of Hell" albums recorded by Meat Loaf between 1977 and 2006. It firmly rejects the sterile snippet niceties of the jukebox musical in favor of the entire-song bloodiness of a blistering rock opera.Inventively staged by experimental director Jay Scheib, there is a decidedly cinematic feel to the proceedings. Probably because a lot of it is filmed. A huge screen occupies much of the overhead space and a camera operator (filmmaker Paulina Jurzec) roams the multi-level stage, live-streaming the more intimate, or hard to see from the balcony scenes, rendering them larger than life. Indeed, certain movies come to mind over the course of the evening. The fevered, lunatic energy of the outstanding cast smacks of&nbsp;The Rocky Horror Picture Show&nbsp;while the operatic scope of the score harkens to the film version of&nbsp;Tommy, especially when performed by Lena Hall, channelling her inner Ann Margaret as a desperate mother, and Andrew Polec going shirtless and swinging his mic like Roger Daltrey. As the motorcycle riding protagonist in charge of both the title song and the epic finale, "I'd Do Anything for Love," the lean and crisp Polec is definitely more hot dog than Meat Loaf.For a show rich in extremes, Steinman hangs them all upon some pretty conventional musical theater tropes. There are couples trying to connect and a family trying to unify. But most of all, there is, of all things, Peter Pan. Polec's character, Strat, is the leader of a group of lost kids, mutants who can never grow older than age 18. Lest anyone miss the allusion, one of the flighty leaders of the group is named Tink (Avionce Hoyles). Strat falls for the sweet Raven (Christina Bennington), the daughter of a wealthy power couple, Falco and Sloane (Bradley Dean and Hall), who have romance problems of their own. To summarize the outcome in the words of the author, rock and roll dreams come through.As written for the albums, many of Steinman's songs involve a man addressing a woman, making them excellent fodder for staged duets. And there are some great ones here with breakout performances from both New York mainstays and newcomers alike. Hall and veteran showman Dean get the "Paradise by the Dashboard Light" honors and crush it, then top themselves with a stirring "What Part of My Body Hurts the Most." And in her off-Broadway debut, British actor Danielle Steers nearly steals the show with her dynamic dancing and soulful rendition of "Two Out of Three Ain't Bad," sung alongside the fine Tyrick Wiltez Jones. In addition to the video screen, Jon Bausor's set is booby trapped with confetti cannons and anchored by a soaring apartment tower that is in the shape of a guitar neck -- and glowing.(Photo courtesy of Specular)<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"Extravagant, absurd, compulsively hummable, Bat Out of Hell&nbsp;is, like its score, good-bad. Or bad-good." Alexis Soloski&nbsp;for <a href="https://www.nytimes.com/2019/08/08/theater/bat-out-of-hell-the-musical-review.html" target="_blank">New York Times</a>"A jaw-dropping combination of horniness, corniness, portent and camp,&nbsp;Bat Out of Hell&nbsp;veers crazily in tone. Employing strategies from his experimental downtown-theater past, director Jay Scheib mostly enrobes the show in seriousness—there is a lot of projected live video, and scenes are briefly played in two locations at once—but sometimes strips it down to&nbsp;Rocky Horror Show-ish silliness." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/bat-out-of-hell-review-musical-jim-steinman" target="_blank">Time Out New York</a>"This theatrical assault on the senses, which opened its monthlong run off-Broadway&nbsp;Thursday, is just plain overwhelming, even if the epic tunes that made Meat Loaf famous in the '70s are thrilling to hear again." Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2019/08/08/review-bat-out-of-hell-the-musical-pummels-the-senses/" target="_blank">New York Post</a>"Bat Out of Hell&nbsp;might have worked as a humorous, campy spectacle, the sort of show that's so bad it's good. Instead, it's just bad enough to be really, really bad, dragged down by turgid, expository dialogue and a ponderous tone that will have you twitching in your seat like an animal caught in a trap." Frank Scheck&nbsp;for <a href="https://www.hollywoodreporter.com/review/bat-hell-musical-1229953" target="_blank">Hollywood Reporter</a>"Bennington is a dazzling and sensitive vocalist, whether running harmony with Polec — a mighty, intuitive tenor in his own right — during the majestically melodramatic "Making Love Out of Nothing at All," or crooning alone, lost, while hugging her metaphorical motorcycle jacket during the pillowy soft "Heaven Can Wait."" A.D. Amorosi&nbsp;for <a href="https://variety.com/2019/legit/reviews/bat-out-of-hell-review-musical-1203292430/" target="_blank">Variety</a>

Review of Bat Out of Hell: The Musical at New York City Center

Andrew Polec and the Company of Bat Out of Hell: The Musical

Off-Broadway

Bat Out of Hell: The Musical [16576]

Architect Harry P. Knowles designed New York City Center, which was built by Clinton and Russell in 1923 for the Shriners under the name of The Mecca Temple. Amid the financial crash of 1929, the building became city property after the Shriners were unable to keep up with tax payments.

Former Mayor Fiorello LaGuardia and New York City Council President Newbold Morris decided to convert the temple into Manhattan’s first performing arts center. The building opened as a theatre in December 1943.

New York City Center is known for its annual Encores! productions since 1994, which restage seldom revived American musicals in concert or semi-staged incarnations. The venue received a Tony Award for Excellence in Theatre in 2000.

Since its launch, New York City Center has become one of the city’s prime venues for dance.

In addition to the 2,557-seat mainstage, the facility houses two smaller theatres — Stage I and Stage II, where Manhattan Theatre Club has hosted its Off-Broadway productions since 1984 — and four studios.

## How to get to New York City Center

New York City Center is closest to the 57th Street station on the N, Q, R, and W lines and the 7th Avenue station on the E, B, and D lines. The nearest bus stops are 6 Av./W 55 St. on the Q2, Q3, Q4, and Q20 lines; and 6 Av./56 St. on the Q10, Q12, and Q24 lines.

## Restaurants near New York City Center

Popular restaurants near New York City Center include Redeye Grill (American), Pazza Notte (Italian), Estiatorio Milos (Greek), Rue 57 (French), and Benihana (Japanese).

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King James

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There is a debate in [*King James*](https://www.newyorktheatreguide.com/show/26027-king-james-tickets), the play by Rajiv Joseph now running with Manhattan Theatre Club, over whether the greatest basketball player of all time is LeBron James, to whom the play pays tribute, or Michael Jordan. The play’s two characters argue in jest about which player leaves a bigger mark: Jordan did this, but James did that, and in this amount of time.

Their arguments, at least when it comes to basketball and its stars, are inconsequential, held for argument’s sake and not imparting much meaning on their characters’ journeys. Unfortunately, none of their other conversations — about jobs and money, about dreams and ambition, about social norms and expectations — impart much meaning either.

*King James* follows Matt ([Chris Perfetti](https://www.newyorktheatreguide.com/theatre-news/interviews/chris-perfetti-on-king-james-off-broadway)) and Shawn (Glenn Davis), two strangers who become close friends after Matt sells Shawn his Cleveland Cavaliers season tickets in 2004, James's rookie season. Their friendship mostly stems from their love of basketball, the respective illnesses of their parents, and their deep personal insecurities, which require one to thrive while the other grows dependent on them. But we glean these details between the lines, as we only see Matt and Shawn in subsequent [years relevant to James’s career](https://www.newyorktheatreguide.com/theatre-news/news/meet-the-team-bringing-king-james-to-new-york): 2010, when he left Cleveland for Miami; 2014, when he announced his return to the Cavaliers; and 2016, when he led the team to its first championship title. 

Like the rest of the play, however, this engagement with basketball is surface-level. None of the details about the game, the Cavs, or James’s career require more than a cursory Wikipedia study to learn and integrate into the play. There is little discussion of James as a person or the brand he has built, and it feels as though any athlete or figure could be substituted in Matt and Shawn’s dialogue. During the first act, I considered that *King James* may play better in Cleveland, but this thought demeans Cleveland audiences, who might find use of their city, their team, their star more superficial. 

Joseph tries to use James as a vehicle to discuss race in America in a paint-by-numbers fight between the two characters, then drops the passion to force the men to make up by show’s end. It makes sense for a white man and a Black man in a friendship to discuss racist microaggressions — Matt loves Shawn, but Shawn knows Matt must reckon with his ingrained biases — but the attempt is too transparent to land. If Shawn truly believes Matt has shown his true self through these microaggressions, why does he then decide their love of basketball is more important? After 12 years, could he really not find another friend to watch basketball with who wouldn’t belittle him?

Joseph, a former Pulitzer Prize finalist, also offers a nonsensical depiction of a writer's life: In 2014, Shawn is $100,000 in debt and must ask Matt to buy his plane ticket so he can take a meeting in Los Angeles. In 2016, after being staffed in one TV writer’s room, Shawn drops an exorbitant amount of money on basketball tickets and struts back to Cleveland like a peacock displaying its feathers, dressed like a cartoon image of hipster wealth. (If it were that easy, the WGA wouldn’t be on strike.) *King James* abandons its hopes of resonance for a world of vanity and convenience, its conflicts not resolved but dissolved.

The show's saving grace is Todd Rosenthal’s scenic design, which eventually reveals Matt’s family’s delightful, stuffed-to-the-gills antiques shop. But most baffling is the inclusion (a generous word) of Khloe Janel as the DJ. Though listed in the program as a cast member, Janel only appears before the show and during intermission to play a few music cues. Their presence does not evoke a basketball game emcee, but instead makes you wonder what goal Joseph or director Kenny Leon meant to fulfill with their addition.

Only a pre-show “Star-Spangled Banner” remix (to which the audience clapped along) hammers the idea home that we’re at a sports game. If only the show were as entertaining as one.

[*King James* is at New York City Center through June 18. Get *King James* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26027-king-james-tickets)

*Photo credit: Chris Perfetti and Glenn Davis in King James. (Photo by Craig Schwartz Photography)*

'King James' review — Chris Perfetti and Glenn Davis lead a theatrical one-on-one match

Read our review of Pulitzer Prize finalist Rajiv Joseph's *King James*, starring Glenn Davis and *Abbott Elementary*'s Chris Perfetti, at New York City Center.

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